The twist? Well, Wolf Saber --who inherited his gift-- is NEVER wrong when he matches people. It’s a gift passed down from his grandmother to his mother to him.He’s sexy but stays behind the scenes, letting his buddy Chance do all the talking while he matches the clients at parties and events. Booty Camp Dating Service travels the country, and nine months after they leave the city there’s always a flurry of weddings and an accompanying baby boom. Booty Camp claims that clients will be 110% satisfied and they deliver on that promise every single time.Except Wolf refuses to deliver on that guarantee for himself. He doesn’t find love until Hazel Lavender’s best friend pushes her through his front door. Now all he wants to do is make sure Hazel is 110% satisfied…in his bed. Which, ironically, would break the very rules Wolf demands of his employees--no dating clients, ever.So instead, Wolf and Hazel fight. And kiss. And fight some more.Will Wolf’s own rules make him the very first Booty Camp Happily Never After?Line up readers, your Booty Camp date is waiting…Booty Camp Dating Service is a STANDALONE!

    Holland, a timely collection of poetry that follows the final girl of slasher cinema - the girl who survives until the end - on a journey of retribution and reclamation. From the white picket fences of 1970s Haddonfield to the apocalyptic end of the world, Holland confronts the role of women in relation to subjects including feminism, violence, motherhood, sexuality, and assault in the world of Trump and the MeToo movement. Each poem centers on a fictional character from horror cinema, and explores the many ways in which women find empowerment through their own perceived monstrousness.

    Warning:Every poem in this book has one or more words in it that have been taken from the NSA’s watch list.A full list of the words appears at the back of this book.By transmitting this book via email or other means, you are liable to be tracked by the NSA as a potential terrorist threat.This book is dedicated to how ridiculous that is.

    It is a very big deal.Natalie Wagner, marching band clarinet: Our band’s halftime show performances are legendary, even if our football team isn’t.Cinthia Alvarez, Academic Battle team member: Our Academic Battle team has won five years in a row. This Friday, it’ll be six.Tanner Ericksen, sophomore class candidate for vice president: Holly has to win the election for class president this Friday!Holly Carpenter, cheerleader, Academic Battle team member, class president candidate: Friday? Everything is on Friday? How can I be in three places at once?Colin von Kohorn, editor-in-chief of the Prepster: This kind of scheduling incompetence could only have come straight from the top.Angelica Hutcherson, reporter-at-large: I talked to everyone and my article is going to crack this story wide open…This is what happens on the wildest day in the history of high school, as told by the people who survived it!

    Here, in intimate detail, prim and proper Lauren Ash records her most secret fantasies. He knows he should never read it again, but the temptation is too hard to resist. Never before has he come across anything so private-or so sensual. Never before has he found such a potent weapon for righting an old wrong.His strategy: seduce her, make her fall in love, then break her heart. He'll be her dream lover in the flesh, weaving an erotic spell to free the passionate woman inside her. But Lauren is casting her own tantalizing magic, forcing him to let go of the past and surrender to her body and soul.

    Casey, can she unlock her memories—and find true love?When Noah Ainsley wakes up in a hospital room with no recollection of how she got there, all she knows is that she needs to see Elliot, the love of her life. Then she learns the horrifying truth: her short-term memory has been destroyed by a car accident . She and Elliot broke up five years ago. And now she’s married to Anderson, a man she doesn’t even recognise.In an instant Noah’s world is turned on its head. All she wants is Elliot by her side, but it’s clear Anderson is hurt by her rejection. Can she really have fallen in love with this stranger? Nothing makes sense—and when even Elliot refuses to answer her questions, Noah is left feeling all alone.But as her memories slowly return, Noah begins to wonder if she’s been wrong to shut Anderson out—and wrong to put all her trust in Elliot. The ex she loves and the husband she doesn’t remember hold the keys to her past. And when the truth is finally revealed, which future will Noah’s heart choose?

    It tells a story of love, loss, and rebirth.

    Her father, a stern but loving Puritan, once a distinguished soldier in Cromwell's army, fears for his daughter in the poisonous aftermath of the war, and for her vulnerability as an heiress. But above all he fears and misunderstands her scientific passion for butterflies. The girl is Eleanor Glanville, destined to become one of the most famous entomologists in history, bequeathing her name to the rare butterfly which she discovered, the Glanville Fritillary. But not before she had endured a life of quite extraordinary vicissitude. Two marriages and an all-consuming love, which proved her undoing, a deep friendship with one of the great scientists of the day and finally, a trial for lunacy (on the grounds that no sane person would pursue butterflies). The dramatic events of her life are played out against the violent events of the Monmouth Rebellion and the vicious controversy over whether or not to drain the Somerset marshes (what is now the M5 motorway runs across Kings Sedgemoor Drain - one of the first great ditches which reclaimed the land for farming and destroyed this precious natural habitat).

    Reginald Dwayne Betts confronts the funk of postincarceration existence and examines prison not as a static space, but as a force that enacts pressure throughout a person’s life.The poems move between traditional and newfound forms with power and agility—from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume’s radiant conclusion. Drawing inspiration from lawsuits filed on behalf of the incarcerated, the redaction poems focus on the ways we exploit and erase the poor and imprisoned from public consciousness. Traditionally, redaction erases what is top secret; in Felon, Betts redacts what is superfluous, bringing into focus the profound failures of the criminal justice system and the inadequacy of the labels it generates.Challenging the complexities of language, Betts animates what it means to be a "felon."

    Understandable perhaps from the point of view of the poet: readers on the other hand might wish to demur. The poems gathered here and chronologically ordered, thereby tracing the course of the war, are an extraordinary testimony to the almost unimaginable experiences of a combatant in that bitter conflict. Moving from the patriotic optimism of the first few poems (" ... fighting for our freedom, we are free") to the anguish and anger of the later work (where "hope, with furtive eyes and grappling fists / Flounders in mud ... "), there comes a point when the reality of trench-warfare and its aftershocks move beyond comprehension: Sassoon knows this, and it becomes a powerful element in his art. As a book, the images have a cumulative relentlessness that make it almost impossible to read more than a few poems in one sitting. Unlike the avant-garde experiments developing in Europe in the first decades of this century, Sassoon's verse is formally conservative--but this was perhaps necessary, for as one reads the poems, one feels that the form, the classically inflected tropes, the metre and rhyme, apart from ironising the rhetoric of glory and battle were necessary techniques for containing the emotion (and indeed, a tone of barely controlled irony may have been the only means by which these angry observations would have been considered publishable at the time). When Sassoon's line begins to fragment, as it does in several of the later poems, it is under the extreme pressure to express the inexpressible. Compassion and sympathy are omnipresent here, in their full etymological sense of suffering with or alongside others--something the higher echelons of command (those " ... old men who died / Slow, natural deaths--old men with ugly souls") were never able or willing to contemplate. But Sassoon intuited the future of warfare, could sense that this was not "the war to end all wars": the mock-religious invocation of the final poem prefigures the vicious euphemisms of more recent conflicts: "Grant us the power to prove, by poison gases, / The needlessness of shedding human blood." Sassoon's bile-black irony signals a deep-felt pessimism: it was with good reason. --Burhan Tufail

    To protect his professional credibility, he’s determined to remain anonymous. Soon his preoccupation with anonymity takes over their lives as he tries to limit the family’s contact with anyone who might have ties to the foodie world. Meanwhile, Lila craves adult conversation and some relief from the constraints of her homemaker role. With her patience wearing thin, she begins to question everything: her decision to get pregnant again, her break from her career, her marriage—even if leaving her ex-boyfriend was the right thing to do. As Sam becomes more and more fixated on keeping his identity secret, Lila begins to wonder if her own identity has completely disappeared—and what it will take to get it back.

    Only at the end of the twentieth century could a writer create this compelling combination of experience and imagination, education and tradition, sex and prayer. This magic and modern coming of age could not have been written at any other time, yet its references bring the reader places that are distinctly not 1990s America.

    The title of her new collection, Scattered at Sea, evokes notions of dispersion, diaspora, sowing one’s wild oats, having one’s mind expanded or blown, losing one’s wits, and mortality. Making use of dramatic monologue, elegy, humor, and collage, these poems explore hedonism, gender, ancestry, reincarnation, bereavement, and the nature of prayer. Groping for an inclusive, imaginative, postmodern spirituality, they draw from an array of sources, including the philosophy of the ancient Stoics, diagnostic tests for Alzheimer’s disease, 1950s recipes, the Babylonian Talmud, and Walter Benjamin’s writing on his drug experiences.

    None of these he allows to overwhelm his spirit or his poems, which demonstrate, through breath and cadence and unrepentant enthrallment, that a gentle palm on a chest can calm the fiercest hungers.

    For the writer, there was something majestic and elemental about these inscrutable creatures he admired, sentient beings whose searing gaze could penetrate deep into our being. Bukowski considered cats to be unique forces of nature, elusive emissaries of beauty and love.On Cats offers Bukowski’s musings on these beloved animals and their toughness and resiliency. He honors them as fighters, hunters, survivors who command awe and respect as they grip tightly onto the world around them: “A cat is only ITSELF, representative of the strong forces of life that won’t let go.”Funny, moving, tough, and caring, On Cats brings together the acclaimed writer’s reflections on these animals he so admired. Bukowski’s cats are fierce and demanding—he captures them stalking their prey; crawling across his typewritten pages; waking him up with claws across the face. But they are also affectionate and giving, sources of inspiration and gentle, insistent care.Poignant yet free of treacle, On Cats is an illuminating portrait of this one-of-a-kind artist and his unique view of the world, witnessed through his relationship with the animals he considered his most profound teachers.